Dhoop Kinare

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Dhoop Kinare

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I recently finished rewatching an old Pakistani Drama called Dhoop Kinare (At the Edge of Sunlight) which originally aired in 1987. The drama starred Rahat Kazmi as Dr Ahmer Ansari.  It also starred Marina Khan as Dr Zoya Ali Khan, a new doctor who comes to work in Dr Ansari’s children’s hospital, and the two gradually fall in love. If anyone has ever read Betty Neel’s books, you can kind of get an idea of the story of Dhoop Kinare. It was refreshing to watch that story play out on the screen.

The drama also starred Sajid Hassan (Dr Irfan) and Badar Khalil (Dr Sheena) as other doctors in the hospital. Dr Sheena was the second female lead, who was desperately in pursuit of Dr Ahmer. Qazi Wajid played Zoya’s beloved father.  Kehsishan Awan plays Anjij, Zoya’s best friend. There were also a whole host of other veteran actors rounding out the cast. Continue reading

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Samdhan

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I just finished skimming through HumTV’s Samdhan, a label for the relationship between a man/woman and his or her child’s mother-in-law. The story is about, the drama tells us at the end, the three women that are in-laws through their children and preaches forgiveness above all else. I had such a problem with the ending of this drama, that I felt that I just had to get my thoughts down on paper. And once you write it down, why not post it, right?

Throughout the actual drama, we see the story of Aafia and her mother, Rabia. Aafia is a working girl, and has a good government job. She does not want to get married, because she is worried about what will happen to her mother. Rabia has another daughter, who, due to being married, cannot take care of her mother, and she has one son. The son is shown to be under the complete control of his wife, a woman who has convinced him that his mother is a woman who basically sleeps around and has bad character. Aafia has vowed that she will not marry, unless she can bring her mother into the household as well. Fareed, played by Saleem Shaikh, agrees to accept Rabia into his home, and Aafia agrees to marry him. Continue reading

Rani Beti Raaj Kare

Rani Beti Raaj Kare

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I have been currently watching a Pakistani drama about  parents with five daughters, and their all consuming need to get their daughters successfully married off. The title of the drama, Rani Beti Raaj Kare, basically expresses a desire of the parents, where they are wishing that their precious daughters live happily (in their in-laws home). I am stuck watching this drama because I don’t want to get up and leave when my mom watches it. She seems to love these types of melodramatic, unhappy dramas; dramas that seem to center around the desperate need for parents to marry their daughters off. And if there are multiple daughters involved? Even better.

The drama is about a husband, Rifaqat, and wife, Guddo, and their three daughters, Haya, Saima and Uzma. Rifaqat also has two daughters from another marriage, Rahila and Shakeela. And 50 episodes into the drama, it isn’t getting any better.

The drama starts with Saima’s engagement. Amidst the celebrations, we see another household, where two girls (Rahila and Shakeela) are being terrorized by Jagu Dada (the neighborhood thug). When their father, Rifaqat, comes, he takes them away from all of this. Rifaqat takes his daughters home and stupidly has them join the engagement party. When the other guests start badgering Rahila and Shakeela, demanding who they are, Rifaqat says that they are his daughters from another marriage and their mother has died. Saima’s future in-laws break the engagement and leave. Continue reading

Saij (Marriage Bed)

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Another drama that left an impression on me was GeoTV’s Saij, starring Nabeel as Raheel, Naheed Shabbir as Dua and Nousheen Shah as Romana. The drama has a lot of elements that I like dislike, we have the multiple marriages angle, the parental blackmail angle, the fear of how a broken engagement/divorce can ruin a woman’s life, and a man failing to protect his love, but despite all of that I felt that Saij had a good message about valuing the outsider, and that message left such a deep enough impression on me that I still remember the drama today. The word “Saij” kind of means “Wedding night bed”; it is the bed that the couple spends their first night in.

The story begins with Raheel living in America. We find out that Raheel has been abroad for a few years, but that he used to like Dua before he left. His sister, Rashna, thinking that she is helping him, tells his parents of his preference for Dua. The parents, geniuses that they are, decide to set up a match between Dua and Raheel. Without consulting their son, they advertise the engagement and set a date for the wedding. When Raheel comes back to Pakistan, he is faced with a fait accompli. When he tries to protest the match, his parents guilt him into going through with the wedding, citing the loss of their own honor and the damage that a broken engagement would do to Dua. Continue reading

Doraha (Crossroads)

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I watch very few Pakistani dramas. I might see them in passing or catch an episode here or there because my mom is an avid drama watcher, but I hardly ever sit down and watch every episode of a Pakistani drama. But one of the few ones that caught my attention and held it for its entire run was 7th Sky Entertainment’s Doraha starring Humayun Saeed as Umar, Sonia Rahman as Sara, and Sanam Baloch as Shahla. The drama centers around one woman’s quest to get the man she loves, only to realize, once she has him, that their happily ever after wasn’t all she imagined it to be.

Shahla and Umar are cousins, and Shahla has been in love with Umar for a long, long time. Umar thinks of Shahla as a little sister, and is in love with Sara, a woman he goes to college with. Despite family opposition, Sara and Umar marry and Sara spends the next two years of her life being the perfect wife and daughter-in-law. She puts up with her mother-in-laws bitterness, she takes care of the house and learns to cook (even though she never cooked before), and she is a supportive wife to Umar. Sara comes from an affluent household but learns to live in a small house for Umar, and she adjusts to this lifestyle. She gives up the chance at a career to make her in-laws happy. Despite all of her efforts, Umar’s mother refuses to accept Sara and is always saying bad things about her and to her. Umar eventually gets tired of this and takes the easy way out; he divorces Sara. Continue reading

Qaid e Tanhai

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I am currently watching a new drama, titled Qaid e Tanhai (Imprisoning Solitude). Now, bearing in mind, that I do not have formal knowledge of Urdu, I understand the title to mean that each of the characters are imprisoned in their own solitude (be it by choice or circumstances). The drama is currently showing on HumTV, and stars Sawaira Nadeem (playing Aisha) and Faisal Qureshi (playing Mois). The drama is written by Umera Ahmed and directed by Baber Javed, who also directed Meri Zaat Zara-e-Benishan. I see this drama as an alternate universe version of Meri Zaat Zara-e-Benishan, except in this drama, the hapless, easily manipulated son and husband did not divorce his wife (either of his wives).

The drama is being revealed on two separate tracks. The viewer gets to see what happened 14 years ago and what is happening in the present, simultaneously. I have to admit, I am much more interested in what will happen now, rather than what may or may have not happened 14 years ago. Continue reading

Meri Zaat Zarra-E-Benishan – Pakistani Drama

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I am currently watching a Pakistani drama called Meri Zaat Zarra-E-Benishan. I can’t really define the title in just few words, but it generally means that my being, my personality and everything that I am is meaningless to the world and will leave no mark in the world.

It is the story about a woman named Saba, who is betrayed by everyone she loves and trusts and is then pushed into marriage with a widowed father of four, who is abusive to her. The family then forgets her. The tale begins in present times, and then goes into flashbacks to tell the viewers what happened with Saba and how she was destroyed by her family, immediate and extended, and her husbands.

At the beginning, the audience is shown that a woman named Saba is dead. Her daughter has come to a man named Arfeen Abbas’s house, because her mother told her to come here once she, the mother, died. Arfeen is shocked and saddened to hear the news of Saba’s death. He visits her home, he cradles her sandels lovingly, and puts rose petals on her grave. The viewer is left in no doubt that Arfeen loved Saba. Continue reading